A miniature pendant of Louis Charles de France (Louis XVII)

 

A miniature pendant with a portrait of Louis Charles de France, or Louis XVII, by an unidentified artist. After a portrait by Vigee-Lebrun. [source: Adjug'art Auctions, via Auction.fr]

 

 

The 19th century was certainly no stranger to Bourbon nostalgia, and this miniature portrait of Louis Charles de France--known to many royalists as Louis XVII--is certainly no exception. Although the piece does not have a definite date, the auction house dates it to the early 19th century. It's a plausible enough date, and it's possible that the piece was produced around the time of the Bourbon Restoration or perhaps several years after the Restoration.

The Bourbon Restoration made it vogue to reproduce images of the monarchy--including images of the now-deceased members who had gone from loathed figures in the revolutionary to exalted martyrs under the Restoration. One can easily imagine this brooch pinned on the jacket or bodice of a royalist in the early years of the Restoration or beyond.

Detail from a painting of Marie Antoinette by Joseph Caraud

 

Joseph Caraud painted a number of works related to the life and times of Marie Antoinette. One such work is a lovely piece sold at Bonhams in 2005, depicting the Princesse de Lamballe reading a book to Marie Antoinette and her daughter, Marie Thérèse Charlotte. 

 Caraud took some obvious inspiration from the famous Vigee-Lebrun portrait of Marie Antoinette and her children for this piece, at least in his depiction of Marie Antoinette and her daughter. Caraud painted Marie Antoinette in a similar (albeit blue, making it reminiscent of another Vigee-Lebrun portrait) fur-trimmed gown with her feet propped on a luxurious foot pillow and, as in the Vigee-Lebrun portrait, her daughter is clinging lovingly to her mother's side. 

This detail allows us a closer view of the most charming aspect of this Caraud piece. The Caraud portrait, not bound by the same political and social expectations as Vigee-Lebrun's heavily charged piece painted amidst the pre-Revolutionary crisis, depicts the queen as more classically maternal in her posing. 

 One arm is wrapped around her daughter, while Marie Thérèse rests her own arm on her mother's; Marie Antoinette is looking towards (not pictured in the detail) the Princesse de Lamballe reading, while Marie Thérèse gazes out towards the viewer, as if to emphasize that we are looking at an intimate private moment--and not the composed, official state portrait that Caraud drew inspiration from.

Pen and Sword offering free eBooks to coincide with the 198th anniversary of Napoleon's death

Free Books About Napoleon!

Pen and Sword is giving away four Napoleon related eBooks for free through Amazon Kindle to coincide with the 198th anniversary of Napoleon's death. The links below are to the Amazon.com site but they are available for free through (at least) Amazon UK as well; availability on other Amazon platforms may vary. This is a rare opportunity so be sure to get those downloads in!

1815: The Waterloo Campaign Vol I by John Hussey

In Napoleon's Shadow: The Memoirs of Louis-Joseph Marchand, Valet and Friend of the Emperor 1811–1821 by Louis-Joseph Marchand

Letters from the Battle of Waterloo: Unpublished Correspondence by Allied Officers from the Siborne Papers by Gareth Glover and John Hussey

With Eagles to Glory: Napoleon and his German Allies in the 1809 Campaign by John H. Gill

L'Après-Midi au Petit Trianon by Emile Charles Dameron (1848-1908)

Just a lovely painting to share today--but be sure to keep an eye out for an analysis on the depiction of the Queen's hamlet in 19th century art in a week or so!

Image: L'Après-Midi au Petit Trianon (Also known as 'Le Hameau de Trianon') by Emile Charles Dameron (1848-1908).

October Offerings: Party on the Stairs by Adelaide Claxton,

After all: a truly good party doesn't just last a lifetime...

[image: Party on the Stairs by Adelaide Claxton, circa 1860-1890]

The Belvédère du Petit Trianon by Emmanuel Lansyer, 1889.

A painting of the Belvedere at the Petit Trianon by Emmanuel Lansyer, 1889.

[credit: (C) RMN-Grand Palais (musée d'Orsay) / Hervé Lewandowski]

Capet, éveille-toi! by Victor Hugo

[credit: Bibliothèque nationale de France, département Estampes et photographie]

Capet, éveille-toi! by Victor Hugo

[Translation from Louis XVII: A Bibliography.]

Heaven's golden gates were opened wide one day,
And through them shot one glittering, dazzling ray
From the veiled Glory, through the shining bars,
Whilst the glad armies of the ransomed dead
Welcomed a spirit by child-angels led
Beneath the dome of stars.

From griefs untold that boy-soul took its flight,
Sorrow had dimmed his eyes and quenched their light;
Round his pale features floats his golden hair;
Whilst virgin souls with songs of welcome stand
With martyr palms to fill his childish hand,
And crown him with that crown the Innocents should wear.

Hark! Hear th' angelic hosts their song begin;
New angel! Heaven is open — enter in,
Come to thy rest; thine earthly griefs are o'er.
God orders all who chant in praise of Him,
Prophets, archangels, seraphim,
To hail thee as a King and Martyr evermore!

When did I reign? the gentle spirit cries.
I am a captive, not a crowned king.
Last night in a sad tower I closed my eyes.
When did I reign? O Lord, explain this thing.
My father's death still fills my heart with fear.
A cup of gall to me, his son, was given. I am an orphan. Is my mother here?
I always see her in my dreams of heaven.

The angels answered: God the Wise and Good,
Dear boy, hath called thee from the evil world, A world that tramples on the Blessed Rood,
Where regicides with ruthless hands have hurled Kings from their thrones,
And from their very graves have tossed their mouldering bones. What! is my long, sad, weary waiting o'er?

The child exclaimed. Has all been suffered, then? Is it quite true that from this dream no more
I shall be rudely waked by cruel men? Ah! in my prison every day I prayed,
How long, O God, before some help will come? Oh, can this be a dream? I feel afraid —
Can I have died, and be at last at home?

You know not half my griefs that long sad while;
Each day life seemed more terrible to bear;
I wept, but had no mother's pitying smile,
No dear caress to soften my despair.
It seemed as if some punishment were sent
Through me some unknown sin to expiate.
I was so young — ere knowing what sin meant
Could I have earned my fate?

Vaguely, far off, my memory half recalls
Bright, happy days before these days of fear; Asleep a glorious murmur sometimes falls
Of cheers and plaudits on my childish ear. Then I remember all this passed away;
Mysteriously its brightness ceased to be; A lonely, friendless boy I helpless lay,
And all men hated me.

My young life in a living tomb they threw;
My eyes no more beheld the sun's bright beams; But now I see you angels, brothers, who
So often came to watch me in my dreams. Men crushed my life in those hard hands of theirs.
But they had wrongs. O Lord, do not condemn! Be not as deaf as they were to my prayers!
I want to pray for them.

The angels chanted: Heaven's holiest place
Welcomes thee in. We'll crown thee with a star; Blue wings of cherubim thy form shall grace,
On which to float afar.
Come with us. Thou shalt comfort babes who weep
In unwatched cradles in the world below,
Or bear fresh light on wings of glorious sweep
To suns that burn too low.

The angels paused. The child's eyes filled with tears.
On heaven an awful silence seemed to fall.
The Father spake, and echoing through the spheres
His voice was heard by all.

My love, dear king, preserved thee from the fate
Of earth-crowned kings whose griefs thou hast not known.
Rejoice, and join the angels' happy hymns.
Thou hast not known the slavery of the great;
Thy brow was never bruised beneath a crown,
Though chains were on thy limbs.
What though life's burden crushed thy tender frame,
Child of bright hopes, heir of a royal name!
Better to be
Child of that blessed One who suffered scorn,
Heir of that King who wore a crown of thorn,
Hated and mocked — like thee.

Review: Paris Les Boulevards from Rizzoli

Paris Les Boulevards is a new book from Rizzoli publishing that is perfect for anyone with a love or fascination for that most famous of cities, Paris. Paris Les Boulevards is actually a reproduction of a 19th century book illustrated by Charles Franck, who meticulously recreated some of the most famous boulevards in the city. A copy of the original book was discovered by book collector Neale M. Albert in a bookstore; there are, in fact, only two known copies of the original book still in existence.

The new edition also contains some new informational text by Pamela Golbin in addition to the reproduced full illustrations that show the beauty of the boulevards of 19th century Paris.  Each illustration is exquisitely detailed, down to the windows of each building and the elegant horse drawn carriages and 19th century men and women strolling amidst the grandeur of old Paris. In her introduction, Golbin rightly describes the book as being "like a Google map from a bygone age."

This new edition of Paris Les Boulevards smartly recreates the unique gatefold binding of the original, which can be folded out to reveal a panoramic of the entire boulevard, giving a much fuller view of the long and illustrious Paris boulevards featured in the book.

I was a bit worried that the unfolding and refolding each section would be difficult, especially since the book is on the smaller side; however, I have re-read the book a few times since receiving it and have had no problems with the folding. This is a plus if you, like me, enjoy viewing the illustrations as full panoramas.

Paris Les Boulevards is a charming, interesting look at the boulevards of Paris in all their 19th century glory. I recommend this book for anyone with a love of Paris or an interest in 19th century French history. I would also recommend it for anyone with an interest in rare books and reproductions.

Paris Les Boulevards will be available from Rizzoli on March 31st, 2015.

[I was provided a review copy of this book by the publisher.]

'Meek child of sorrow': Consolatory Verses for the Duchesse d'Angouleme

Sir Herbert Croft (1 November 1751 - 26 April 1816) was an English-born author who was best known for his proposed English dictionary and his popular novel, 'Love and Madness, a Story too true, in a series of letters between Parties whose names could perhaps be mentioned were they less known or less lamented.' Although Croft's proposed dictionary never got off the ground, his novel--which many people thought was a real collection of letters--was fairly successful.

In 1814, Croft composed and published the following 'Consolotary verses' to Madame, the ducehsse d'Angouleme, who had been newly restored to France with the rest of her family. The verses were published after May 30th, 1814, the signing of the Treaty of Paris. Croft dedicated these verses to George III, the prince regent of England, as a "small mark of gratitude for the favours conferred ... through a long series of year.' What these favours are, exactly, is unknown.

The complete versions can be read for free on Google Books. I've transcribed a small excerpt below.

Meek child of sorrow, whose still-wearied eyes
Stream over such unusual miseries!
Lov'd, royal Lady, whom, we, all, confess
Virtue has mark'd, ev'n more than wretchedness!
I don't deny the sources of your grief;
But let a stranger try to lend relief.
Stranger! yet Hartwell's bow'rs and allies know
You do not term the British muses so.

'Twas there the muse of Young consol'd your mind;
And made it, if more sad, still more resign'd:
There Thomson prov'd how each kind season fills
The world with charms, that balance life's worst ills:
There Rogers taught your tender soul to see
The pleasures, sadly sweet, of memory;
Which, sometimes, in a visionary trance,
Hurried your rapt thoughts back to your lov'd France.

You're, now, come back to your lov'd country; brought
by God himself, and not in airy thought.
Much-injur'd victim! may, on this blest day,
Oblivion's waters wash all tears away!
But that I know forgiveness is the tie
Which to their France binds all your family;
I'd speak of the fond words Religion lent
To France's martyr, in his testament.
He charg'd the seventeenth Lewis to "forgive,
"If they should let the royal infant live;
"If he should ever be condemn'd to drain
"The cup of human misery, and reign."
See who consents to fill that infant's throne,
Of which the cares and miseries are known;
Throne, stain'd with so much blood, so many years,
But wash'd, at least, with a whole nation's tears.

Forgive! Yes, he and every Bourbon do:
Oh! that you could forget, sad daughter, too!
Forgive! Yes, exil'd; years and years ago,
You, all, forgave each author of your woe.
Two brothers, yes and you, forgiving maid,
For France, each weeping night and morning, pray'd.
Yes, you evne pray'd that they might pardon'd be,
Who murder'd more than half your family.

A satirical print against Louis XVIII: 'The Terrible Burden.'

 

 [credit: © The Trustees of the British Museum]

The above satirical print depicts Louis XVIII falling under the weight of a large double-labeled sack. The back half of the sack is labeled "the mistakes/faults of the Bourbons," while the much lighter front half is labeled "benefits of Louis XVIII."  

The print was released in May of 1815, during the 'Hundred Days' of Napoleon's return to French rule.

The Seperation of the Dauphin from Marie Antoinette by Princess Alice, Grand Duchess of Hesse & by Rhine

A composition of the terrible scene of July 3rd, 1793, when the young Louis Charles was separated from his mother and his family. This piece was completed in 1858 by Princess Alice, the second daughter of Queen Victoria.

credit: Royal Collection © Her Majesty Queen Elizabeth II

From the account of the duchesse d'Angoulême:

On the 3d of July, they read us a decree of the Convention ordering that my brother be separated from us and lodged in a more secure room in the Tower. Hardly had he heard it when he flung himself into his mother's arms uttering loud cries, and imploring not to be parted from her. My mother, on her side, was struck down by the cruel order; she would not give up her son, and defended, against the municipals, the bed on which she placed him. They, absolutely determined to have him, threatened to employ violence and to call up the guard. My mother told them they would [Page 267]  have to kill her before they could tear her child from her. An hour passed in resistance on her part, in threats and insults from the municipals, in tears and efforts from all of us. At last they threatened my mother so positively to kill him and us also that she had to yield for love of us.

Gisela Röder's History of Fashion

Gisela Röder is a German-born artist who, in addition to providing the artwork for several German children's books, illustrated a series of "History of Fashion" postcards that were likely released in the 1960s or 1970s.

I have, so far, managed to collect the postcards from the late 17th century - 19th century Restoration-era. I absolutely love the retro feel of these illustrations and I hope I can finish my collection of them soon.

I've arranged them more or less in chronological order - enjoy!

Louis XIV Era

 

credit: my collection 

Louis XV Era

 credit: my collection 

Louis XVI-era

 

 credit: my collection 

1780s "English-Style" Fashion

 credit: my collection 

1789-1792 Revolutionary Era

 

 credit: my collection 

Incroyables/Merveilleuses Fashion

credit: my collection 

Directory Era Fashion

 

 credit: my collection 

Empire Era Fashion

 

 credit: my collection 

1820-1834 Restoration Era Fashion

 credit: my collection

Madame at Prayer

A small collection of engravings of Madame, the duchesse d'Angouleme, at prayer. Prayer and religion were of the utmost important to the duchesse, who found consolation in her religion during her long and tumultuous life.

 

Marie Thérèse praying for her mother and for France in the Temple prison

credit: Bibliothèque nationale de France

 

Marie Thérèse, the duchesse d'Angouleme praying at the tomb of her family

credit: Bibliothèque nationale de France

 

The duchesse d'Angouleme at prayer

credit: Bibliothèque nationale de France

 

The duchesse d'Angouleme in prayer at Saint-Étienne-du-Mont

credit: Bibliothèque nationale de France

 

The duchesse d'Angouleme at prayer in Scotland in 1832, after the July Revolutio

credit: Bibliothèque nationale de France

 

 

Bouquet Royal

 

credit: Bibliothèque nationale de France, département Estampes et photographie

When I saw this unique engraving, my mind went at once to the painting which was presented Marie Antoinette when she was a young dauphine, which depicted her as the center of a rose among a bouquet of flowers.

This engraving, published in 1815, puts the returning Bourbons at the center of a 'royal bouquet.' I find it interesting that the duchesse d'Angouleme is placed in the second tier of flowers, just below the right hand side of Louis XVII and on the same level as as the comte d'Artois--who was now heir presumptive. Perhaps the engraving, which was no doubt created to promote joy in return of the Bourbon monarchy, was intending to capitalize on the memory of the French. They would remember their "princess in the tower," daughter of the last king and queen, much more than her two cousins.

Can any flower aficionados identity the flowers being used in this unique engraving?

A portrait of the duchesse d'Angoulême crowned with lilies

image:  (C) Musée du Louvre, Dist. RMN-Grand Palais / Martine Beck-Coppola

A portrait of Marie-Thérèse-Charlotte de France, duchesse d'Angoulême by an unknown 19th century artist. This particular miniature seems to strongly emphasis the duchesse's Bourbon heritage: among the royal nods in the painting are a royal blue ermine cloak draped around her shoulders and the delicate crown of lilies, a symbol strongly associated with the Bourbon royal family, which adorns her head. The date on this miniature is unknown...  perhaps it was painted to celebrate the beginning of the Bourbon Restoration.

Even More Costumes from the Devonshire Costume Ball of 1897

Last month, I made a post about the elaborate "Marie Antoinette" costume worn by Frances Evelyn, countess of Warwick, to the extravagant Devonshire costume ball of 1897. But Frances--popularly known as Daisy--was not the only fashionable attendee to chose a figure from the world of Marie Antoinette. Here are a few of the more sumptuous, rich and glittering costumes that brought a little 18th century into the Devonshire ball.

 image: Emily Theresa, Baroness Ampthill, as the princesse de Lamballe

credit: ©V&A Lafayette Negative Archive

Emily Theresa, Baroness Ampthill, was the Lady of the Bedchamber to Queen Victoria from 1885 to 1901. She chose to don the guise of the Princesse de Lamballe, the murdered friend and confidante of Marie Antoinette. Perhaps her choice was inspired by her own loyalty to her sovereign, Queen Victoria? Her costume was created by Alias of London, and was described in The Echo's report of the elaborte event as a "...brocade of blue and gold, underdress of blue satin trimmed with real Louis XV lace. Coiffure poudre, with feathers and diamonds."

image: Evelyn Elizabeth Forbes as Elisabeth Christine of Austria
credit: ©V&A Lafayette Negative Archive

Evelyn Elizabeth Forbes, later Mrs. William Dodge James, as Elisabeth Christine of Austria. Elisabeth Christine, who married Archduke Karl of Austria in 1708, was the mother of the future Maria Theresa. Evelyn's gown was described in The Court Journal as a "...costume of stiff silver tissue, through which glimmered an underdress of antique cerise taffeta. The reproduction was quite a chef-d'oeuvre; the long pointed corsage being enhanced by priceless point lace entwined with roses in palest pink; those flowers, in various sizes, were scattered over the entire toilette and gave to it a charming pre-Raphaelite effect."

 

image: Georgian Elizabeth, Countess Howe, as Queen Marie Leczinska
credit: ©V&A Lafayette Negative Archive 

Georgiana Elizabeth, Countess Howe, chose Queen Marie Leczinska, the consort of Louis XV, for her costume. Marie Leczinska, a devout Catholic, was the longest serving queen consort of France.

 

image: Theresa Susey Helen as Maria Theresa

credit: ©V&A Lafayette Negative Archive 

Theresa Susey Helen, Marchioness of Londonderry, chose the incomparable Maria Theresa of Austria for the ball. Her costume, described in The Queen, was a glittering marvel: "...gown of richest cream satin, copied from a picture in South Kensington Museum, beautifully embroidered in shades of gold and pearls. Stomacher of magnificent diamonds, with ropes of pearls festooned on each side. Train of rich cream acanthus leaf brocade, fastened on the left shoulder with a huge diamond buckle, and at the waist with another, and edged with thick silver cord. Necklace of pear shaped pearls, with another diamond necklace above, and a diamond crown." Theresa also wore the famous Londonderry Tiara, which used real diamonds, pearls and other jewels. 

 

The Devonshire costume ball of 1897 was a veritable "who's who" of London society in the 19th century. Ladies and gentlemen alike wanted to make a fashionable splash that would surely guarantee them a spot--and a long paragraph--in the weekly society papers. Diamonds, pearls, rich fabrics and gowns that cost a fortune were the rule--not the exception!

 

If you were transported into the elegant heights of 19th century high society, what figure would you choose for the Devonshire costume ball? 

 

 

An engraving of the duchesse d'Angoulême

A stunning colored engraving of the duchesse d'Angoulême by Augustin Legrand.

 

image credit: ebay.fr

This engraving was first published in 1815, likely before or after Napoleon's "Hundred Days," in honor of the restoration of the monarchy. Indeed, many symbols of the Bourbons and the French monarchy can be found in the border of the print, in addition to Marie-Thérèse all-white ensemble. The duchesse was a particular popular topic for engravings during the Restoration--which may be because she was, amongst all of the returning Bourbons, the one most cemented in French memory as the "orphan princess of the Temple."

The Countess of Warwick as Marie Antoinette at the Devonshire House Ball

image: the Countess of Warwick as Marie Antoinette 

credit: ©National Portrait Gallery, London

The Devonshire House Costume Ball of 1897 was one of the most anticipated social events of 1897. For this elaborate event, the Duchess of Devonshire instructed her guests to dress in the theme of various courts--mythical and real life. And her guests wasted no time commissioning intricate, elaborate--and quite expensive--costumes from famous houses, such as the house of Worth in Paris.

To stress the importance of this magnificent affair, The London Photographic Firm of Lafayette was invited to take studio-style photographs of the guests in their costumes. Elaborate backdrops, which ran the gamut from a stylized version of the Devonshire Gardens to a Turkish setting with an antique carpet, were created especially for the event. Although some guests, not satisfied with the shots done by the studio at the event, would later return to the Firm for 'retakes.'

 

image: the Countess of Warwick as Marie Antoinette 

credit: ©V&A Lafayette Negative Archive 

The costumes chosen by the ball's guests ranged from mythical goddesses, figures from paintings, and historical kings and queens. Frances Evelyn (Daisy), the countess of Warwick, chose Marie Antoinette as her costume for his elegant and highly anticipated evening. The costume, made by Worth of Paris, was studded with real diamonds and used both gold and antique lace.

The Countess of Warwick's Marie Antoinette costume, as depicted in The Queen, July 10th, 1897

image credit: Russell Harris 

 

image: the Countess of Warwick as Marie Antoinette

credit: ©V&A Lafayette Negative Archive

Daisy's costume, as described by The Times July 3rd report of the event:

'... bodice and paniers of pink and gold flowered brocade and gold lace studded with silver sequins and diamonds, the square-cut neck trimmed with old lace, and chiffon sleeves divided into small puffs with gold lace sparkling with jewels; diamond rivieres were festooned across the front of the bodice. The petticoat was of white satin draped with chiffon scarves edged with gold and sequin lace. The regal train of turquoise velvet was lined with the same and embroidered all over at equal distances with raised gold fleur-de-lis, and fastened on each of the shoulders with gold cord'.

 

image: the Countess of Warwick as Marie Antoinette

credit: ©V&A Lafayette Negative Archive

Did you spot the photographer assistant's hand in the full-length photos?

 

image: the Countess of Warwick as Marie Antoinette

credit: ©V&A Lafayette Negative Archive 

Of course, the Countess of Warwick was not the only guest who chose a figure whom we can associate with Marie Antoinette. The Lafayette Archives have records of at least eight other guests who chose from among Marie Antoinette's friends, family, associates and predecessors as their costume for the night--but I'll leave those for another post!